Angela B. Chrysler's Blog, page 46
August 20, 2015
5 Myths of Romance Novels
Today is 20 August 2015. I’ve been running the Brain to Books Blog Tour now since 24 July 2015, but 18 July 2015 was slightly different. In addition to her post, author Rosanna Leo, included this in her post.
I’d like to thank Angela very much for hosting me on this fun blog tour. It’s a pleasure to be here.
A lot of people have asked me why I write romance. My first response is, “Why not? I love it.”
There are still a lot of folks out there who pooh-pooh romance for its sense of fantasy. After all, real life isn’t anything like the implausible scenarios we see in these books, is it? Well, this is exactly what readers appreciate about a good romance.
It’s not real life. It’s something better. Certainly, it’s something different.
Romance provides an escape. I think most romance readers would agree there is almost nothing better than cuddling up with a new book at the end of the day and watching a new set of characters fall in love. We live vicariously through these lovers. We get to visit exotic locations with them and embark on adventures. We get to be someone we’ve never been before.
I love providing my readers with this escape factor. A good romance provides sanctuary from everyday problems and trials. Sure, romance plots can sometimes seem over-the-top. That’s what makes them fun and exciting.
Don’t get me wrong. I love my life. I just like hanging out with sexy shape shifters here and there as well. They amuse me and inspire me, and after closing the book, I return to real life a little happier.
I was so moved after reading this, that I contacted the author and extended my thanks. But it wasn’t just Rosanna’s lovely acknowledgement that warmed my heart. It was what she said about romance.
Romance books take a lot of abuse. A lot. Romance authors are not taken seriously. At all. During the period where I studied writing, I read more than twenty romance novels. In fact, I read two books from every genre to examine the style and the form, but mostly…I needed to determine what I wanted to write. When I dipped my toes into romance, I was floored to learned there were so many subgenres. I ended up reading a lot of romance to determine what I liked.
In the end, I enjoy Karen Marie Moning…and “The Prize” by Julie Garwood. But I am still looking at this genre and thinking, “Why? Why would anyone commit their time to a simple, seemingly shallow story about love? No moral to be learned. No deeper meaning. Just simple, “They met and fell in love…BUT…” Rosanna answers this question beautifully!
I am a multi-genre author who will read…pretty much anything. If the story looks good…and is well written…I will read it no matter the genre. This has allowed me to explore genres like mentor books (Aaron Copeland), memoirs (Finding Me), Biographies (Glenn Gould and Ayn Rand), nonfiction (A World Lit Only By Fire), How-To Books (Gisela Hausmann), science fiction (Douglas Adams and H.G. Wells), Romance (Julie Garwood), Paranormal Romance (Karen Marie Moning), fantasy (Tolkien), horror (Stephen King) and modern fiction (Dan Brown). An open mind opens the door to endless knowledge. (Oooh! That’s catchy!)
This is where I pull on the finest expert I know on this subject. Angela Dukes. Since infancy, this woman listened to romance novels being read to her as a “bed time story.” Dukes has read more than 5,000 romance novels and boasts a very unique skill. “I can match up any woman to a Julie Garwood book.” And she can! She chose The Prize for me and I fell into this historical romance. A lot of this book influenced my own story telling. I adore the book and it is the only Julie Garwood book I love. I loathed all the others and yes…I had to read all the others after reading The Prize.
Here is what Dukes says about romance novels.
ROMANCE DEBUNKED
by Angela Dukes
Since the 15th century, demand for books has developed into a multi-billion dollar business, strategically evolving to satisfy readers across all genres—non-fiction, fiction, and children’s literature. Most publishing houses can annually rake in hundreds of millions of dollars in revenue per genre, with the exception of one, that can single handedly generate billions. Ironically, this genre is associated with a lot of myths and criticism. That’s right, I’m talking about romance stories.
Romantics, a term used to describe romance readers and writers, are often associated with being excessively emotional, irrational, and impractical. Non-romantics hear the term “romance novel” and ta-bing! their eyes roll as images of half-naked people provocatively posed on book covers filled with sexual euphemisms, such as “throbbing members” and “heaving bosom” form. Non-romantics purse their lips in distaste at the idea of spending time on 200+ pages of serenades, self-proclamations, unrequited feelings, dramatized interactions, idealistic notions, improbable events, and overly embellished sexual acts. Non-romantics think romantics are just dissatisfied females seeking to escape their lives by vicariously experiencing their unfulfilled fantasies through fictional characters.
Criticism for romance novels sprout from multiple directions including academics, other writers, and religious institutions. Some view reading romance stories as a waste of time and energy. Love cannot conquer all. Encouraging this ideology is detrimental. Romantic stories create disillusioned women with unrealistic expectations about the real world, real people, real relationships, and real life.
When I hear this sort of talk, I feel a burning deep in the pit of my stomach. Even after eating lunch, this burning persistently blazes hotter in anger. I loathe misinformation. Therefore, I am compelled to debunk the myths associated with my beloved genre by sharing history and experiences.
Disclaimer: I am entering “lecture” mode.
Myth #1: “Romance stories offer an escape.”
Truth: Romance is entertaining.
“Romance stories offers an escape” is a catchphrase created by publishing advertisers from the Great Depression Era. The catchphrase was part of a marketing strategy to increase mass market book sales. Anything that provides a getaway from daily routine is offering an escape. This includes sports, entertainment, a nap, or even spending time with friends. Marketing geniuses, your ploy worked amazingly! Romantics are not even aware of why they are enjoying themselves, instead they automatically responding with your catchphrase.
So, if it is not for an “escape”, why are romance stories so popular? Romance stories are mental amusement parks offering simple and pleasurable entertainment. Prior to strapping into any amusement ride, an adventurer already knows the outcome. This is true for romantics, who know from page one that the lovers live happily ever after. There is absolutely no pondering over the story’s conclusion. How can that possibly be entertaining? Any adventurer or romantic knows the thrill is in the journey, not the destination.
Myth # 2: “Romance is chick lit.”
Truth: Romance stories are not determined by the sex of the romantic.
Romance and chick lit are different, unrelated genres. Chick lit (yes this is a real thing) is a sub genre of women’s literature. Women’s literature is specific to female-related concerns and challenges such as secular success, sexual exploration, health or cultural issues, or spiritual enlightenment, and self-discovery. Neither women’s literature nor chick lit require the presence of romantic elements.
Romance is perceived through sexism-tinted glasses. It is one of the few forms of entertainment that changes people’s perception of both product and consumer. Romantics are generalized as females or to be involved with “female thinking”. This mentality is popular despite contrary information. Not only do men indulge in romance stories–almost a fifth of today’s buyers– they also represent an increasing percentage of genre writers.
Romance stories have been around for ages, tucked away in recounted fairy tales, mythologies, and chivalrous stories such as King Arthur or Tristian and Isolde. Some of the greatest literary novels were romances written, not just by women like Jane Austen and the Brontë sisters, but by men like Homer, William Shakespeare, Victor Hugo, and the Grimm Brothers. Even today, we have successful male romantics contributing to the genre like F. Scott Fitzgerald, Boris Pasternak, Nicholas Sparks, and Harold Lowry, a best-selling romance author and former president of Romance Writers of America.
Myth #3: “Romance stories are all the same.”
Truth: Variety exists among romantic stories.
Okay, technically, this one is a half-truth, but please, stay with me on this and you will understand why it is included. Any story line can include romantic elements. This is not what makes the story into a romance. The romantic relationship between characters can be some of the events included within a larger story arc. Take some of these familiar fictional couples, Superman and Lois Lane; Han Solo and Princess Lea; Arwen and Argorn; and Ron Weasley and Hermione Granger, the love between these characters was not the central theme of these tales.
Romance stories are complicated constructions with rules including structure, sub-genres, and form. Along with the basic elements of storytelling, romance story arcs must maintain a strict foundation consisting of four elements:
Theme: the romantic relationship between two characters is developed throughout the story line.
Co-protagonists — People that a romantic can relate to and wishes to spend hours with believing in and supporting even after the story ends. They often are attractive people with endearing personality traits, realistic flaws, and problems.
Note: a skilled writer through detailed characterization can create balance for the reader: attraction to the co-protagonists and the idea that achieving long-term happiness with each other.
Traditional western romances co-protagonists are heterosexual Caucasians. In more contemporary writings, the couples can be of any race or sexual orientation.
Conflict: the story line must contain at least one literary conflict–man vs. self; man vs. environment; man vs. man–which is the obstacle to the lovers being together.
The heart, (pun intended) of the story are these conflict(s). Think of the adage: “It’s a classic tale of hero meets heroine. Heroine/Hero is placed in a distressing situation by an antagonist. Heroine/Hero go through a series of challenging events and learn about themselves to help defeat antagonist.” If the theme was the story arc it would be: “Hero meets heroine. They live happily ever after. The end.” Dull.
Note: Writers can create as many complicated, insurmountable conflicts desired. Some writers choose to resolve conflicts through the protagonist’s personal growth and development or direct confrontation.
Emotional content: Personal feelings are explored. True happiness or contentment is discovered, then achieved.
Love is the primary focus, secondary to achieving eternal happiness. Writers delve into the psychology of attraction, sex, relationships, and falling in love. They touch upon Maslow’s hierarchy of needs, the philosophy of happiness, and the dichotomy of single life vs. partnered life. Without some basic concepts of behavioral and cognitive psychology, the created emotions can seem implausible disintegrating the romantic feelings.
Note: The majority of romance writers are not psychologists, however, they do spend a lot of time inside the minds of their characters to create a feasible romantic relationship.
Conclusion: the major conflicts must be resolved and the ending includes the couple’s reunion.
The writer’s conclusion must be emotionally satisfying. Some stories can overflow with emotion. Love between the characters is acknowledged by both, life-long commitments are made, and all major conflicts resolved.
Romantic genres fluctuate and evolve with time and trends. Genres can decided by specific story elements such as the characters, setting, erotic content, or story arc.
Historical Romances: take place before 1950. (This marker can change as time progresses.) These stories often include detailed descriptions regarding the period, social issues, history, and culture.
Dark Ages-Renaissance Ages: usually set in a European country. Popular choices include stories featuring Vikings, Highlanders, or the higher lords of feudalism.
Age of Exploration: Pirates, explorers, or invaders.
Regency Romances: Victorian England with a lot of focus on marriage for social status vs. romantic love. These stories often include descriptions about social practices of high-society England.
War: Major conflicts from 18th century to 20th century
Westerns: Western Expansion in America
Contemporary Romances: take place after 1950 to present. Most contemporary storylines focuses on internal conflicts impeding the couple.
Time-traveling Romances: one of the protagonists are shifted to a different time period where they meet and fall in love with the other protagonist.
Suspense/Thrillers: story arc is built around crime solving or surviving a perilous situation.
Inspirational: spiritual or religious beliefs are major part of theme and/or story arc. These can include exploring personal relationships with God or personal spirituality.
Paranormal: — major story line may include non-human characters or other fantasy/sci-fi elements. Characters can have super-human abilities like telepathy, immortality, or flying.
Vampires/Werewolves/Super-humans
Elves/Fairies/Aliens
Mythological creatures
Erotic:–major story lines include frequent, explicit sexual encounters.
BDSM: includes elements of sexual fetishes
Young Adult: features teenagers as the co-protagonists.
Simply put, a writer could create a story line involving teenage vampires, who are thrown into separate dimensions and centuries due to an enchantment by an unknown witch. As long as the story line is within the romance foundation, all is well.
The last distinction among romance stories are the formats: category and single-titles. This is a distinct publishing feature, identifiable by romantics, even if they are unfamiliar with the proper terminology. The most recognizable category romances are the ones published by Harlequin Enterprises. They are distinguished by a number on the spine, indicating they were part of a publication series, and their mass market sized. The book is approximately 200 pages or 55,000. Category romances can easily be found in the book aisle of any grocery stores, library carousels, and bookshelves. Single-title romances range from 300-400 pages or 100,000-110,000 words. They can be published as a hardcover, mass market, or e-books. Some writers will produce subject series or multiple single-titles with interconnected characters. Some romance writers collaborate with each other to create an anthologies.
Myth # 4: “Romance stories are just sex on paper.”
Truth: Sexual content is not a requirement for a romantic story.
When I was ten years old, I would swap category romances with my mother and fifth-grade teacher. By my third book, I had figured somewhere between pages 88-101, I could read kissing scenes. By the time I switched over to single-title romances, I was a veteran, a romantically well-versed thirteen-year old and realized some stories exclude sex. Sexual content was the writer’s discretion and could be used as part of the relationship’s development. To find the books with the arousing scenes, I would break the cardinal rule of reading– cover judging. Cover art could reveal the sexual content awaiting inside for me. Every detail, including clothing provided hints. I had it down to an indisputable science:
Fully clothed couple flirting = 0-1 scenes none – minimal descriptive language.
Scantily clad couple embracing = 1-3 scenes minimal -mild descriptive language
Sexy topless male posing = 1-3 scenes mild-explicit descriptive language.
Innocent landscapes or objects = 3+ scenes explicit descriptive language.
Vintage costumes or older hairstyles = no premarital sex.
Retrospectively, I can tell you my science was not exact. Cover art changes, it’s part of the marketing strategy to attract readers. The only way to know how erotic the book can be is to read it or be familiar with the author.
Sex scenes are influenced by current social paradigms. It used to be common for the hero to rape the heroine. This reflected a social viewpoint that only immoral women have premarital sex. Currently, sexual exploration is more acceptable. Sex scenes are bolder in language and action and between two consenting adults with various levels of sexual experience.
Myth # 5: “Romance stories make readers unrealistic.”
Truth: Romance stories make readers happy.
Romance stories offer something personal to each reader. This could be arousal, empowerment, enlightenment, or encouragement. Once the story concludes, the romantic walks away smiling and amused.
Converting non-romantics into romantics is not on my agenda. Instead, I hope to stop a few from smirking at romantics, by providing them with insight about the popular genre.
Back to Chrysler…
After my literary wanderings (yes…there is such a things), I have located my own style of romance and part of me craves to write it. Mine is a colder, harsher reality for my lovers. My happy endings have to be earned…if they happen at all. But their love is deeper, strong, immortal. Only through their love for each other can they hope to gain immortality. The depths of love can’t truly be tested or felt without the bitter taste of pain. This is my idea of a romance…and I’m going to write them!
What do you think?
The views expressed herein are the views and opinions of the authors only and do not reflect the views or opinions of others.
I’d like to thank Angela very much for hosting me on this fun blog tour. It’s a pleasure to be here.
A lot of people have asked me why I write romance. My first response is, “Why not? I love it.”
There are still a lot of folks out there who pooh-pooh romance for its sense of fantasy. After all, real life isn’t anything like the implausible scenarios we see in these books, is it? Well, this is exactly what readers appreciate about a good romance.
It’s not real life. It’s something better. Certainly, it’s something different.
Romance provides an escape. I think most romance readers would agree there is almost nothing better than cuddling up with a new book at the end of the day and watching a new set of characters fall in love. We live vicariously through these lovers. We get to visit exotic locations with them and embark on adventures. We get to be someone we’ve never been before.
I love providing my readers with this escape factor. A good romance provides sanctuary from everyday problems and trials. Sure, romance plots can sometimes seem over-the-top. That’s what makes them fun and exciting.
Don’t get me wrong. I love my life. I just like hanging out with sexy shape shifters here and there as well. They amuse me and inspire me, and after closing the book, I return to real life a little happier.
I was so moved after reading this, that I contacted the author and extended my thanks. But it wasn’t just Rosanna’s lovely acknowledgement that warmed my heart. It was what she said about romance.
Romance books take a lot of abuse. A lot. Romance authors are not taken seriously. At all. During the period where I studied writing, I read more than twenty romance novels. In fact, I read two books from every genre to examine the style and the form, but mostly…I needed to determine what I wanted to write. When I dipped my toes into romance, I was floored to learned there were so many subgenres. I ended up reading a lot of romance to determine what I liked.
In the end, I enjoy Karen Marie Moning…and “The Prize” by Julie Garwood. But I am still looking at this genre and thinking, “Why? Why would anyone commit their time to a simple, seemingly shallow story about love? No moral to be learned. No deeper meaning. Just simple, “They met and fell in love…BUT…” Rosanna answers this question beautifully!
I am a multi-genre author who will read…pretty much anything. If the story looks good…and is well written…I will read it no matter the genre. This has allowed me to explore genres like mentor books (Aaron Copeland), memoirs (Finding Me), Biographies (Glenn Gould and Ayn Rand), nonfiction (A World Lit Only By Fire), How-To Books (Gisela Hausmann), science fiction (Douglas Adams and H.G. Wells), Romance (Julie Garwood), Paranormal Romance (Karen Marie Moning), fantasy (Tolkien), horror (Stephen King) and modern fiction (Dan Brown). An open mind opens the door to endless knowledge. (Oooh! That’s catchy!)
This is where I pull on the finest expert I know on this subject. Angela Dukes. Since infancy, this woman listened to romance novels being read to her as a “bed time story.” Dukes has read more than 5,000 romance novels and boasts a very unique skill. “I can match up any woman to a Julie Garwood book.” And she can! She chose The Prize for me and I fell into this historical romance. A lot of this book influenced my own story telling. I adore the book and it is the only Julie Garwood book I love. I loathed all the others and yes…I had to read all the others after reading The Prize.
Here is what Dukes says about romance novels.
ROMANCE DEBUNKED
by Angela Dukes
Since the 15th century, demand for books has developed into a multi-billion dollar business, strategically evolving to satisfy readers across all genres—non-fiction, fiction, and children’s literature. Most publishing houses can annually rake in hundreds of millions of dollars in revenue per genre, with the exception of one, that can single handedly generate billions. Ironically, this genre is associated with a lot of myths and criticism. That’s right, I’m talking about romance stories.
Romantics, a term used to describe romance readers and writers, are often associated with being excessively emotional, irrational, and impractical. Non-romantics hear the term “romance novel” and ta-bing! their eyes roll as images of half-naked people provocatively posed on book covers filled with sexual euphemisms, such as “throbbing members” and “heaving bosom” form. Non-romantics purse their lips in distaste at the idea of spending time on 200+ pages of serenades, self-proclamations, unrequited feelings, dramatized interactions, idealistic notions, improbable events, and overly embellished sexual acts. Non-romantics think romantics are just dissatisfied females seeking to escape their lives by vicariously experiencing their unfulfilled fantasies through fictional characters.
Criticism for romance novels sprout from multiple directions including academics, other writers, and religious institutions. Some view reading romance stories as a waste of time and energy. Love cannot conquer all. Encouraging this ideology is detrimental. Romantic stories create disillusioned women with unrealistic expectations about the real world, real people, real relationships, and real life.
When I hear this sort of talk, I feel a burning deep in the pit of my stomach. Even after eating lunch, this burning persistently blazes hotter in anger. I loathe misinformation. Therefore, I am compelled to debunk the myths associated with my beloved genre by sharing history and experiences.
Disclaimer: I am entering “lecture” mode.
Myth #1: “Romance stories offer an escape.”
Truth: Romance is entertaining.
“Romance stories offers an escape” is a catchphrase created by publishing advertisers from the Great Depression Era. The catchphrase was part of a marketing strategy to increase mass market book sales. Anything that provides a getaway from daily routine is offering an escape. This includes sports, entertainment, a nap, or even spending time with friends. Marketing geniuses, your ploy worked amazingly! Romantics are not even aware of why they are enjoying themselves, instead they automatically responding with your catchphrase.
So, if it is not for an “escape”, why are romance stories so popular? Romance stories are mental amusement parks offering simple and pleasurable entertainment. Prior to strapping into any amusement ride, an adventurer already knows the outcome. This is true for romantics, who know from page one that the lovers live happily ever after. There is absolutely no pondering over the story’s conclusion. How can that possibly be entertaining? Any adventurer or romantic knows the thrill is in the journey, not the destination.
Myth # 2: “Romance is chick lit.”
Truth: Romance stories are not determined by the sex of the romantic.
Romance and chick lit are different, unrelated genres. Chick lit (yes this is a real thing) is a sub genre of women’s literature. Women’s literature is specific to female-related concerns and challenges such as secular success, sexual exploration, health or cultural issues, or spiritual enlightenment, and self-discovery. Neither women’s literature nor chick lit require the presence of romantic elements.
Romance is perceived through sexism-tinted glasses. It is one of the few forms of entertainment that changes people’s perception of both product and consumer. Romantics are generalized as females or to be involved with “female thinking”. This mentality is popular despite contrary information. Not only do men indulge in romance stories–almost a fifth of today’s buyers– they also represent an increasing percentage of genre writers.
Romance stories have been around for ages, tucked away in recounted fairy tales, mythologies, and chivalrous stories such as King Arthur or Tristian and Isolde. Some of the greatest literary novels were romances written, not just by women like Jane Austen and the Brontë sisters, but by men like Homer, William Shakespeare, Victor Hugo, and the Grimm Brothers. Even today, we have successful male romantics contributing to the genre like F. Scott Fitzgerald, Boris Pasternak, Nicholas Sparks, and Harold Lowry, a best-selling romance author and former president of Romance Writers of America.
Myth #3: “Romance stories are all the same.”
Truth: Variety exists among romantic stories.
Okay, technically, this one is a half-truth, but please, stay with me on this and you will understand why it is included. Any story line can include romantic elements. This is not what makes the story into a romance. The romantic relationship between characters can be some of the events included within a larger story arc. Take some of these familiar fictional couples, Superman and Lois Lane; Han Solo and Princess Lea; Arwen and Argorn; and Ron Weasley and Hermione Granger, the love between these characters was not the central theme of these tales.
Romance stories are complicated constructions with rules including structure, sub-genres, and form. Along with the basic elements of storytelling, romance story arcs must maintain a strict foundation consisting of four elements:
Theme: the romantic relationship between two characters is developed throughout the story line.
Co-protagonists — People that a romantic can relate to and wishes to spend hours with believing in and supporting even after the story ends. They often are attractive people with endearing personality traits, realistic flaws, and problems.
Note: a skilled writer through detailed characterization can create balance for the reader: attraction to the co-protagonists and the idea that achieving long-term happiness with each other.
Traditional western romances co-protagonists are heterosexual Caucasians. In more contemporary writings, the couples can be of any race or sexual orientation.
Conflict: the story line must contain at least one literary conflict–man vs. self; man vs. environment; man vs. man–which is the obstacle to the lovers being together.
The heart, (pun intended) of the story are these conflict(s). Think of the adage: “It’s a classic tale of hero meets heroine. Heroine/Hero is placed in a distressing situation by an antagonist. Heroine/Hero go through a series of challenging events and learn about themselves to help defeat antagonist.” If the theme was the story arc it would be: “Hero meets heroine. They live happily ever after. The end.” Dull.
Note: Writers can create as many complicated, insurmountable conflicts desired. Some writers choose to resolve conflicts through the protagonist’s personal growth and development or direct confrontation.
Emotional content: Personal feelings are explored. True happiness or contentment is discovered, then achieved.
Love is the primary focus, secondary to achieving eternal happiness. Writers delve into the psychology of attraction, sex, relationships, and falling in love. They touch upon Maslow’s hierarchy of needs, the philosophy of happiness, and the dichotomy of single life vs. partnered life. Without some basic concepts of behavioral and cognitive psychology, the created emotions can seem implausible disintegrating the romantic feelings.
Note: The majority of romance writers are not psychologists, however, they do spend a lot of time inside the minds of their characters to create a feasible romantic relationship.
Conclusion: the major conflicts must be resolved and the ending includes the couple’s reunion.
The writer’s conclusion must be emotionally satisfying. Some stories can overflow with emotion. Love between the characters is acknowledged by both, life-long commitments are made, and all major conflicts resolved.
Romantic genres fluctuate and evolve with time and trends. Genres can decided by specific story elements such as the characters, setting, erotic content, or story arc.
Historical Romances: take place before 1950. (This marker can change as time progresses.) These stories often include detailed descriptions regarding the period, social issues, history, and culture.
Dark Ages-Renaissance Ages: usually set in a European country. Popular choices include stories featuring Vikings, Highlanders, or the higher lords of feudalism.
Age of Exploration: Pirates, explorers, or invaders.
Regency Romances: Victorian England with a lot of focus on marriage for social status vs. romantic love. These stories often include descriptions about social practices of high-society England.
War: Major conflicts from 18th century to 20th century
Westerns: Western Expansion in America
Contemporary Romances: take place after 1950 to present. Most contemporary storylines focuses on internal conflicts impeding the couple.
Time-traveling Romances: one of the protagonists are shifted to a different time period where they meet and fall in love with the other protagonist.
Suspense/Thrillers: story arc is built around crime solving or surviving a perilous situation.
Inspirational: spiritual or religious beliefs are major part of theme and/or story arc. These can include exploring personal relationships with God or personal spirituality.
Paranormal: — major story line may include non-human characters or other fantasy/sci-fi elements. Characters can have super-human abilities like telepathy, immortality, or flying.
Vampires/Werewolves/Super-humans
Elves/Fairies/Aliens
Mythological creatures
Erotic:–major story lines include frequent, explicit sexual encounters.
BDSM: includes elements of sexual fetishes
Young Adult: features teenagers as the co-protagonists.
Simply put, a writer could create a story line involving teenage vampires, who are thrown into separate dimensions and centuries due to an enchantment by an unknown witch. As long as the story line is within the romance foundation, all is well.
The last distinction among romance stories are the formats: category and single-titles. This is a distinct publishing feature, identifiable by romantics, even if they are unfamiliar with the proper terminology. The most recognizable category romances are the ones published by Harlequin Enterprises. They are distinguished by a number on the spine, indicating they were part of a publication series, and their mass market sized. The book is approximately 200 pages or 55,000. Category romances can easily be found in the book aisle of any grocery stores, library carousels, and bookshelves. Single-title romances range from 300-400 pages or 100,000-110,000 words. They can be published as a hardcover, mass market, or e-books. Some writers will produce subject series or multiple single-titles with interconnected characters. Some romance writers collaborate with each other to create an anthologies.
Myth # 4: “Romance stories are just sex on paper.”
Truth: Sexual content is not a requirement for a romantic story.
When I was ten years old, I would swap category romances with my mother and fifth-grade teacher. By my third book, I had figured somewhere between pages 88-101, I could read kissing scenes. By the time I switched over to single-title romances, I was a veteran, a romantically well-versed thirteen-year old and realized some stories exclude sex. Sexual content was the writer’s discretion and could be used as part of the relationship’s development. To find the books with the arousing scenes, I would break the cardinal rule of reading– cover judging. Cover art could reveal the sexual content awaiting inside for me. Every detail, including clothing provided hints. I had it down to an indisputable science:
Fully clothed couple flirting = 0-1 scenes none – minimal descriptive language.
Scantily clad couple embracing = 1-3 scenes minimal -mild descriptive language
Sexy topless male posing = 1-3 scenes mild-explicit descriptive language.
Innocent landscapes or objects = 3+ scenes explicit descriptive language.
Vintage costumes or older hairstyles = no premarital sex.
Retrospectively, I can tell you my science was not exact. Cover art changes, it’s part of the marketing strategy to attract readers. The only way to know how erotic the book can be is to read it or be familiar with the author.
Sex scenes are influenced by current social paradigms. It used to be common for the hero to rape the heroine. This reflected a social viewpoint that only immoral women have premarital sex. Currently, sexual exploration is more acceptable. Sex scenes are bolder in language and action and between two consenting adults with various levels of sexual experience.
Myth # 5: “Romance stories make readers unrealistic.”
Truth: Romance stories make readers happy.
Romance stories offer something personal to each reader. This could be arousal, empowerment, enlightenment, or encouragement. Once the story concludes, the romantic walks away smiling and amused.
Converting non-romantics into romantics is not on my agenda. Instead, I hope to stop a few from smirking at romantics, by providing them with insight about the popular genre.
Back to Chrysler…
After my literary wanderings (yes…there is such a things), I have located my own style of romance and part of me craves to write it. Mine is a colder, harsher reality for my lovers. My happy endings have to be earned…if they happen at all. But their love is deeper, strong, immortal. Only through their love for each other can they hope to gain immortality. The depths of love can’t truly be tested or felt without the bitter taste of pain. This is my idea of a romance…and I’m going to write them!
What do you think?
The views expressed herein are the views and opinions of the authors only and do not reflect the views or opinions of others.
July 15, 2015
Reviews on Broken are flowing in from ARC readers
Read the Reviews:
This is what Joshua Robertson has said about "Broken"
[Broken] is worthy of a reward. [Chrysler] has an uncanny ability to capture what most people have no concept of understanding. This is the type of literature that social workers and psychologists are forced to read during their internships to give them some understanding of what atrocities they will face while working in the field. I hope words spreads quickly of [her] talent.
So...so very well done.
Joshua Robertson received a free ARC in exchange for an honest review.
Review by Stanislava D. Kohut
Poignant and brutally honest, Broken grasped me and didn't let me go from the very first page.
To read someone's life story is usually a very personal and intimate affair. With Broken, I experienced everything through Angela's gripping and at times heart wrenching story telling. She doesn't let any stone of her past unturned.
Angela doesn't just tell you what hell she went through, she make you see it and feel it with every word delivered straight to your soul.
To write a memoir is not easy. Some stories feel too cleaned up, bleached and starched for the audience - hiding the truth behind a white washed facade. Another times the story is missing key plot lines, delivered haphazardly without a rhyme or a reason.
Not with Broken. Every chapter, every sentence, every word is perfectly placed, delivering a strong punch to your gut and to your heart - in the best way possible.
Angela is a master story teller, not swayed to make her story anything but what it is - a picture painted with blood, sweat, tears and honesty.
Angela is a Tour de Force, making her Broken one of the best, the saddest and most significant reads that I had the privilege to experience as a reader.
Stanislava D. Kohut received a free ARC in exchange for an honest review.
Mia Darien said this about "Broken"
"I found the prose to be hypnotic. The flow of this story's narrative achieved an almost mesmerizing effect. I kept thinking about something my mother once said about watching Judy Garland sing on stage: that she was like a raw nerve, and that's what the story felt like. That each word was a raw nerve. Like a bleeding soul crying out 'LISTEN' and so how can you not? It made for a very powerful experience."
This is what Joshua Robertson has said about "Broken"
[Broken] is worthy of a reward. [Chrysler] has an uncanny ability to capture what most people have no concept of understanding. This is the type of literature that social workers and psychologists are forced to read during their internships to give them some understanding of what atrocities they will face while working in the field. I hope words spreads quickly of [her] talent.
So...so very well done.
Joshua Robertson received a free ARC in exchange for an honest review.
Review by Stanislava D. Kohut
Poignant and brutally honest, Broken grasped me and didn't let me go from the very first page.
To read someone's life story is usually a very personal and intimate affair. With Broken, I experienced everything through Angela's gripping and at times heart wrenching story telling. She doesn't let any stone of her past unturned.
Angela doesn't just tell you what hell she went through, she make you see it and feel it with every word delivered straight to your soul.
To write a memoir is not easy. Some stories feel too cleaned up, bleached and starched for the audience - hiding the truth behind a white washed facade. Another times the story is missing key plot lines, delivered haphazardly without a rhyme or a reason.
Not with Broken. Every chapter, every sentence, every word is perfectly placed, delivering a strong punch to your gut and to your heart - in the best way possible.
Angela is a master story teller, not swayed to make her story anything but what it is - a picture painted with blood, sweat, tears and honesty.
Angela is a Tour de Force, making her Broken one of the best, the saddest and most significant reads that I had the privilege to experience as a reader.
Stanislava D. Kohut received a free ARC in exchange for an honest review.
Mia Darien said this about "Broken"
"I found the prose to be hypnotic. The flow of this story's narrative achieved an almost mesmerizing effect. I kept thinking about something my mother once said about watching Judy Garland sing on stage: that she was like a raw nerve, and that's what the story felt like. That each word was a raw nerve. Like a bleeding soul crying out 'LISTEN' and so how can you not? It made for a very powerful experience."
June 28, 2015
What is "Broken?"
Broken is a memoir that reads like a psychological thriller.
Disassociation. I call it “Don Quixote Disease.” Sometimes you can’t escape the trauma, so your mind drifts allowing you to escape when the body can’t. You fashion a fictional realm or two and live there as an alternative to escape the horrors around you. I fashioned four realms. I miss my worlds.
When you are disconnected from reality, your perspective becomes so distorted you can’t see what’s really there. Sometimes, the trauma is prolonged or is so severe, you can’t turn it off. Sometimes, you go so far into those realms and are there for so long, you don’t recognize reality anymore. This isn’t schizophrenia. It’s disassociation. Psychologists call it PTSD.
I lived with constant trauma for the first twenty years of my life. Even when it was over, I didn’t know and stayed there for another ten years. This April, after thirty years, I found my way back. My perspective changed and I woke up from the realms I created. You should have seen me that first day. I was terrified of people, males, rooms, and doors. I was terrified of everything except the bedroom I lived in. “Nesting,” is what psychologists call it. I should write about that day some time. I remember how cold it was. So cold. And dark.
“Broken” was the road I took that led me to my “Awareness.” In psychology, awareness is the first and most important step. I think it’s all downhill from there. I hope, anyway. But getting to Awareness…many don’t make it that far. It requires a surreal change in perspective. Without knowing what it was I had done or was doing, I recorded this process as it happened. I wrote “Broken” while stumbling about in my mind and toggling between my four realms to better understand me. For two solid weeks, I relived every horrific event I suffered through and, at the end of it all, I found my way out of my mind.
Broken shows the mind of one who suffers from disassociation and the events that woke me up from my alternate worlds. In Broken, you enter the mind of PTSD and witness the fantasy falling apart as I woke up and realized what I am.
I am currently offering ARC's on "Broken." Contact me for details.
Disassociation. I call it “Don Quixote Disease.” Sometimes you can’t escape the trauma, so your mind drifts allowing you to escape when the body can’t. You fashion a fictional realm or two and live there as an alternative to escape the horrors around you. I fashioned four realms. I miss my worlds.
When you are disconnected from reality, your perspective becomes so distorted you can’t see what’s really there. Sometimes, the trauma is prolonged or is so severe, you can’t turn it off. Sometimes, you go so far into those realms and are there for so long, you don’t recognize reality anymore. This isn’t schizophrenia. It’s disassociation. Psychologists call it PTSD.
I lived with constant trauma for the first twenty years of my life. Even when it was over, I didn’t know and stayed there for another ten years. This April, after thirty years, I found my way back. My perspective changed and I woke up from the realms I created. You should have seen me that first day. I was terrified of people, males, rooms, and doors. I was terrified of everything except the bedroom I lived in. “Nesting,” is what psychologists call it. I should write about that day some time. I remember how cold it was. So cold. And dark.
“Broken” was the road I took that led me to my “Awareness.” In psychology, awareness is the first and most important step. I think it’s all downhill from there. I hope, anyway. But getting to Awareness…many don’t make it that far. It requires a surreal change in perspective. Without knowing what it was I had done or was doing, I recorded this process as it happened. I wrote “Broken” while stumbling about in my mind and toggling between my four realms to better understand me. For two solid weeks, I relived every horrific event I suffered through and, at the end of it all, I found my way out of my mind.
Broken shows the mind of one who suffers from disassociation and the events that woke me up from my alternate worlds. In Broken, you enter the mind of PTSD and witness the fantasy falling apart as I woke up and realized what I am.
I am currently offering ARC's on "Broken." Contact me for details.
June 19, 2015
Quiz! Is Dolor and Shadow right for you?
Why should I read Dolor and Shadow?
I believe in the straightforward and direct approach. I have a book I am trying to sell to you. You know this. I know this. But I will not bombard my family and friends with nagging ads that beg them to buy my stuff. In turn, the last thing I want is for the wrong reader to buy my book, but there is a readership out there for Dolor and Shadow and I’m going to find you. So…this is a quick quiz to determine if we match up *grin*
Are you the kind of bibliophile who would like Dolor and Shadow or not? Should you sink money into a book based on a gamble? Let’s find out shall we? Answer true or false to these questions *grin* Oh! This is so exciting! Okay!
QUESTIONS:
1 – I love fantasies with foreign names, complex plots full of mystery, and books that come with fantasy maps and a glossary.
2 – I love books with a little bit of everything: romance, adventure, humor, and unpredictable twists.
3 – I like stories where you aren’t quite sure who the bad guy is and part of the read is figuring out who not to trust.
4 – I love antiquated prose that takes the time to paint sweeping imagery
5 – I love ending a book with only some of the questions answered, knowing there is much more to come.
6 – I love a stubborn protagonist who gets good and dirty, beaten up, and mangled before learning half the lesson.
7 – I love a story that shows a true depiction of love, life, and war
8 – I love an author who appreciates the beauty of weapons
9 – I love a fantasy filled with mysterious magical items
10 – I love a fantasy composed around a complex, but thorough and logical magical system
If you answered “True” to…
3 or less questions answered “True”
“Dolor and Shadow sucks” you may say. You probably are not going to enjoy Dolor and Shadow. But I could be wrong. I recommend reading the sample prior to outright buying Dolor and Shadow. You may be looking for a happier, lighter read, with a guaranteed happy ending.
4 to 6 questions answered “True”
“Eh…Interesting. I may read it again. I prefer Showalter, though.” You may already read a lot of paranormal fantasy and occasionally cross over into the lighter fantasy reads like the Hobbit or Game of Thrones, but wouldn’t dare tackle Silmarillion. You may find Dolor and Shadow enjoyable, though it may try your patience at times.
7 to 10 questions answered “True”
“I’m sleeping with this book under my pillow every night until I die!” You are the target audience Dolor and Shadow was written for and you most likely won’t be disappointed. For you, I give the buy links :)
Buy now for Nook: http://www.barnesandnoble.com/w/dolor...
Buy now for Kindle:
http://www.amazon.com/dp/B00VXB916Y
Buy now for MOBI or EPUB:
https://www.smashwords.com/books/view...
Buy now on Paperback…coming soon.
I believe in the straightforward and direct approach. I have a book I am trying to sell to you. You know this. I know this. But I will not bombard my family and friends with nagging ads that beg them to buy my stuff. In turn, the last thing I want is for the wrong reader to buy my book, but there is a readership out there for Dolor and Shadow and I’m going to find you. So…this is a quick quiz to determine if we match up *grin*
Are you the kind of bibliophile who would like Dolor and Shadow or not? Should you sink money into a book based on a gamble? Let’s find out shall we? Answer true or false to these questions *grin* Oh! This is so exciting! Okay!
QUESTIONS:
1 – I love fantasies with foreign names, complex plots full of mystery, and books that come with fantasy maps and a glossary.
2 – I love books with a little bit of everything: romance, adventure, humor, and unpredictable twists.
3 – I like stories where you aren’t quite sure who the bad guy is and part of the read is figuring out who not to trust.
4 – I love antiquated prose that takes the time to paint sweeping imagery
5 – I love ending a book with only some of the questions answered, knowing there is much more to come.
6 – I love a stubborn protagonist who gets good and dirty, beaten up, and mangled before learning half the lesson.
7 – I love a story that shows a true depiction of love, life, and war
8 – I love an author who appreciates the beauty of weapons
9 – I love a fantasy filled with mysterious magical items
10 – I love a fantasy composed around a complex, but thorough and logical magical system
If you answered “True” to…
3 or less questions answered “True”
“Dolor and Shadow sucks” you may say. You probably are not going to enjoy Dolor and Shadow. But I could be wrong. I recommend reading the sample prior to outright buying Dolor and Shadow. You may be looking for a happier, lighter read, with a guaranteed happy ending.
4 to 6 questions answered “True”
“Eh…Interesting. I may read it again. I prefer Showalter, though.” You may already read a lot of paranormal fantasy and occasionally cross over into the lighter fantasy reads like the Hobbit or Game of Thrones, but wouldn’t dare tackle Silmarillion. You may find Dolor and Shadow enjoyable, though it may try your patience at times.
7 to 10 questions answered “True”
“I’m sleeping with this book under my pillow every night until I die!” You are the target audience Dolor and Shadow was written for and you most likely won’t be disappointed. For you, I give the buy links :)
Buy now for Nook: http://www.barnesandnoble.com/w/dolor...
Buy now for Kindle:
http://www.amazon.com/dp/B00VXB916Y
Buy now for MOBI or EPUB:
https://www.smashwords.com/books/view...
Buy now on Paperback…coming soon.
June 3, 2015
Broken (Macabre memoir)
“BROKEN” is currently with my editor and Indigo Forest Designs (same company that brought you the cover of Dolor and Shadow) is building the cover as we speak.
Broken is planned for release on 11 September 2015.
Blurb
When a young journalist seeks out an acclaimed author in hopes to write her biography, the recluse grants him twenty four hours to hear her story. What enfolds are events that teeter on the edge of macabre and a psychology thriller while the author descends into the bowels of her psyche.
Together, they delve into the her past filled with neglect, rape, abuse, torture, and pedophilia to explore the psychology of a human being who has lived her entire life without love, comfort, family, physical contact, affection, therapy, or medication. As they try to understand her decisions to embrace an isolated life, they explore her multiple mental conditions that send her spiraling into the multiple worlds of her psyche while toggling the lines of insanity.
WARNING: ADULTS ONLY. Readers are strongly cautioned. “Broken” portrays sensitive subject matters including animal abuse, torture, and graphic sexual violence. There is strong language, drug reference and is not suitable for some audiences. Please proceed with caution.
Broken Uncovered
The author speaks on Broken via audio recording. Hear the full audio interview here:
http://www.angelabchrysler.com/broken...
A note to you, dearest reader:
The events revealed in Broken are based on a true story—my story—and are shown exactly as I remember them best to my ability. Writing Broken was one of the hardest things for me to write and began as a very personal experience. I am writing to you, dear reader, because there are a few things I wish to say.
All mental healing begins with awareness. Broken was written as the events shown in Part Five and the Epilogue occurred. As you will see, I needed to remember. I needed to make myself aware. I needed answers that were dependent on a change of perspective. The only way I could gain the perspective I needed was to write Broken. This was all about being honest with myself and coming to terms with what I am.
I wrote Broken, not to berate those who wronged me, to wallow in self-pity, or to help others. I wrote this for me. I am publishing it for you. The more I wrote, the more I became aware of how absolutely broken I am. Through my writing, I capture my state of mind and the severity of my mental condition. By the time I finished, I realized three truths:
1. Many others could benefit from this book. Broken had to be published.
2. My children were already affected by my mental condition and I was passing it on. The damage I caused them had to be stopped and corrected. I have so much more to say on this topic, but for now here is an article I wrote on this.
3. Whatever psychologist or therapist I ended up with, would need to see this.
This third truth is what led me to make a very conscious decision.
Broken is raw.
Normally, I would subject a book to multiple revisions, more than three dozen edits, and a dozen beta readers before even allowing my professional editor to see this. This revision and editing process is gruesome and mandatory. However, my perspective and mental awareness changed so quickly after writing this book that, to edit this manuscript or pass it on to beta-readers, would be to lose the honesty that I had captured. It is imperative, that I not change a thing.
Broken has seen one revision, one beta reader, and one authorial edit. My editor will put this through two professional edits. That is it.
I did not review Broken for story, flow, or characterization because I truly believe the more I revised and edited this manuscript, the more I would lose what I needed to present here. Near the end of my first and only authorial edit, I caught myself applying changes on a subconscious level that altered the psychological meaning. Those changes could complicate the process needed for diagnoses and my own awareness. More importantly, those changes could have allowed me to slip back into denial. I removed the additions made, finished that only edit, then shut myself off from this manuscript. If the reading is rough, I ask that you forgive me.
The topics covered in Broken are difficult for some people. I portray a number of sensitive subject matters including animal abuse, torture, graphic rape scenes, violence, strong language, and drug references. I do not sugar coat any of this. It is their for honesty. Not for shock factor. If you are victim of sexual abuse, I strongly encourage you to speak to a therapist before reading this book. Otherwise, I do not condone you reading this book. Do not repeat my mistake and take on this book unless a therapist has given their professional opinion that you are ready.
As always, I thank you for your support.
Warmest wishes,
Angela B. Chrysler
Broken: Part 1 of 5 is now available online at http://www.angelabchrysler.com/
Broken is planned for release on 11 September 2015.
Blurb
When a young journalist seeks out an acclaimed author in hopes to write her biography, the recluse grants him twenty four hours to hear her story. What enfolds are events that teeter on the edge of macabre and a psychology thriller while the author descends into the bowels of her psyche.
Together, they delve into the her past filled with neglect, rape, abuse, torture, and pedophilia to explore the psychology of a human being who has lived her entire life without love, comfort, family, physical contact, affection, therapy, or medication. As they try to understand her decisions to embrace an isolated life, they explore her multiple mental conditions that send her spiraling into the multiple worlds of her psyche while toggling the lines of insanity.
WARNING: ADULTS ONLY. Readers are strongly cautioned. “Broken” portrays sensitive subject matters including animal abuse, torture, and graphic sexual violence. There is strong language, drug reference and is not suitable for some audiences. Please proceed with caution.
Broken Uncovered
The author speaks on Broken via audio recording. Hear the full audio interview here:
http://www.angelabchrysler.com/broken...
A note to you, dearest reader:
The events revealed in Broken are based on a true story—my story—and are shown exactly as I remember them best to my ability. Writing Broken was one of the hardest things for me to write and began as a very personal experience. I am writing to you, dear reader, because there are a few things I wish to say.
All mental healing begins with awareness. Broken was written as the events shown in Part Five and the Epilogue occurred. As you will see, I needed to remember. I needed to make myself aware. I needed answers that were dependent on a change of perspective. The only way I could gain the perspective I needed was to write Broken. This was all about being honest with myself and coming to terms with what I am.
I wrote Broken, not to berate those who wronged me, to wallow in self-pity, or to help others. I wrote this for me. I am publishing it for you. The more I wrote, the more I became aware of how absolutely broken I am. Through my writing, I capture my state of mind and the severity of my mental condition. By the time I finished, I realized three truths:
1. Many others could benefit from this book. Broken had to be published.
2. My children were already affected by my mental condition and I was passing it on. The damage I caused them had to be stopped and corrected. I have so much more to say on this topic, but for now here is an article I wrote on this.
3. Whatever psychologist or therapist I ended up with, would need to see this.
This third truth is what led me to make a very conscious decision.
Broken is raw.
Normally, I would subject a book to multiple revisions, more than three dozen edits, and a dozen beta readers before even allowing my professional editor to see this. This revision and editing process is gruesome and mandatory. However, my perspective and mental awareness changed so quickly after writing this book that, to edit this manuscript or pass it on to beta-readers, would be to lose the honesty that I had captured. It is imperative, that I not change a thing.
Broken has seen one revision, one beta reader, and one authorial edit. My editor will put this through two professional edits. That is it.
I did not review Broken for story, flow, or characterization because I truly believe the more I revised and edited this manuscript, the more I would lose what I needed to present here. Near the end of my first and only authorial edit, I caught myself applying changes on a subconscious level that altered the psychological meaning. Those changes could complicate the process needed for diagnoses and my own awareness. More importantly, those changes could have allowed me to slip back into denial. I removed the additions made, finished that only edit, then shut myself off from this manuscript. If the reading is rough, I ask that you forgive me.
The topics covered in Broken are difficult for some people. I portray a number of sensitive subject matters including animal abuse, torture, graphic rape scenes, violence, strong language, and drug references. I do not sugar coat any of this. It is their for honesty. Not for shock factor. If you are victim of sexual abuse, I strongly encourage you to speak to a therapist before reading this book. Otherwise, I do not condone you reading this book. Do not repeat my mistake and take on this book unless a therapist has given their professional opinion that you are ready.
As always, I thank you for your support.
Warmest wishes,
Angela B. Chrysler
Broken: Part 1 of 5 is now available online at http://www.angelabchrysler.com/
May 5, 2015
Bergen Interviews his author
“Hi! I'm Bergen,” says the 6’2’’ Viking Prince with a lax grin. “I am the author's main character—”
“You are not the main character.” Angela cuts Bergen off and throws a warning glare his way. Bergen scoffs and rolls his eyes.
“I was supposed to be,” Bergen insists and continues. “To get started on Angela’s Goodreads blog, I’m going to be interviewing the author today” Bergen kicks his feet up on Angela’s desk and lights his pipe. Bergen takes a long draw from the pipe while Angela impatiently sighs beside him.
“You see,” Bergen says. “Angela has a really bad habit of ignoring me so this me taking initiative and interviewing her.”
Angela arches a brow in Bergen’s direction.
“The character is interviewing his author?” Angela summarizes and Bergen grins, delighted at his own idea.
“Very well,” Angela sighs. “Whenever you’re ready…Bergen.”
“Excellent! It’s about time you learn to obey,” Bergen adds and pops the top off Angela’s Guinness. “So…first, I want to thank the reader for taking the slightest of interest in the author—Odinn knows she isn’t worth it—”
“Hey!” Angela shouts and Bergen takes a drink from Angela’s beer.
“I also want to thank the author for bothering to take ten minutes out of her day to actually talk to me, her prized character.”
“Thank you,” Angela snarls. “You’re too kind, Bergen.”
“My lord,” Bergen adds.
“What?” Angela asks.
“You shall address me as, my lord.”
*Stunned silence*
“Hey. I am a prince,” Bergen says. “I have a right to be addressed accordingly.”
“Ugh.”
“Very good,” Bergen grins. “Now, let’s correct this format for the interview.
Angela B. ChryslerAngela B. Chrysler: *Rolls her eyes*
Bergen: That’s better. Ms. Chrysler. Please take a moment to tell us about your book, Bergen-Bane.
Angela: Well…*gritting her teeth* Bergen-Bane isn’t done yet, Bergen. But Dolor and Shadow
is about the last Drui, Queen Kallan and Seidr Wielder, who was hidden from the gods who seek to destroy her. When Kallan’s powers begin to emerge, those who hide her can no longer protect her. Her father is killed and King Rune—her enemy—is framed. A chase ensues and Kallan finds herself lost in Midgard with none other than King Rune and an angry goddess on their tail.
Bergen: How did you come up with the idea for your book? Hey! Your initials are ABC! Did you do that on purpose?
ABC: No. My middle name is Beth. The idea for Dolor and Shadow developed around Kallan—
Bergen: You mean me.
ABC: No. *angry eyes* I mean Kallan. She was the first idea that came to me. I developed Kallan’s character and then, as I pieced together Kallan’s past, Dolor and Shadow evolved. I built the plot around Kallan’s past.
Bergen: Stories always require some form of research. What kind of research did you do for your book?
ABC: I did more research for Dolor and Shadow than I had ever thought possible. I wanted Midgard to literally be 10th century Norway and I wanted that era and location to be so real to the reader that I researched everything from the 10th century. I researched the cultures, the food, the history leading up to the 10th century. I researched the wars, kings, politics, religions, weapons, metallurgy, and innovations of the era as well as the discoveries made and inventions. I was thrilled when Kallan entered Under Earth and Alfheim when I didn't have to worry about historical accuracy.
Bergen: Which scene or chapter was the hardest for you to write?
ABC: Oooh! Hardest as in most grueling or hardest as in most challenging?
Bergen: Whichever *Bergen takes a drink of Guinness*
ABC: The hardest emotionally for me to write were the battle scenes. I did not want to glorify war. I did not want to sugar coat it either. I wanted to show the reader exactly what war looked like. I wanted to show them all of it. I wrote what I saw in my head. The battle, the chaos, the confusion, but most…I wanted to show all of it. I wanted to show the aftermath.
In Lord of the Rings, Return of the King, there is the scene when Pippin wanders the battlefield for Merry. He walks the field for hours. This reminded me of the song from the musical 1776, “Momma, Look Sharp.” The song tells of how mothers during the Revolutionary War had to go down to the battlefield after a battle and find their sons if they wanted the bodies back or if they wanted knowledge at all of their son’s deaths.
This is the side of war we don’t see. But there was more to it than that. I love the show M*A*S*H. Truth is, there are two battles that are fought in every battle: The fight for the territory…and the fight for the living.
In Lorlenalin’s Lies, I show the battle, the confusion, I show the losses and the gore. I then show the wounded piled up. I show the cauterizing of wounds by the thousands…and then, when that is all over, I show Kallan wandering the battlefield to find more wounded…because she can’t turn the war off.
A veteran complimented me on my war scenes. He said it took him back. He was okay, but he was impressed at how realistic I had recreated the aftermath.
Bergen: Describe your favorite scene or chapter in your book and tell us why it’s your favorite…but only if I’m in it.
ABC: *sigh* My favorite scene in Dolor and Shadow, unfortunately does have you in it, Bergen. It is the scene when Rune tries to stop you from riding off to the mountains to recruit the Dvergar for aid. I love this chapter because it is so emotional. The other scene I love is when Kallan meets with Rune in her dungeons before she orders him executed. I love the standoff between these two because—
Bergen: Enough about Rune and Kallan…Let’s talk about me. Which of your characters, do you relate to the most?
ABC: Kallan. She shares my inability to grieve and cope with the death of a loved one. She has the same Shadow inside of her as I do. She can not accept her own weaknesses any more than I.
Bergen: More about Kallan? Who is your favorite character?
ABC: *Scowls* Why…you are, Bergen.
Bergen: Finally! Why?
ABC: Ugh! I don’t feel like stroking your already ego! Next question!
Bergen: This isn’t over. Every author is a compilation of his/her favorite authors. Which authors have done the most to influence your writing and why?
ABC: Edgar Allan Poe. I adore his writing, his tone, his rhythm. He has music in his words that I envy. My life goal is to write a book in a style similar to Poe’s writing. That is what I tried to do with Dolor and Shadow. I wanted to incorporate music right into the prose.
Bergen: “Story” has always been the center of all human cultures. We need it. We seek it out. We invent it. What does “story” mean to you?
ABC: I believe we have a psychological need for story. We do need story. We seek it out, we invent it, we crave it. I believe story is a way for us to learn and to explore ourselves. The earliest of story were parables and fables that taught us lessons. Before that, we invented myth to explain the world around us. Story taught us. It’s how we learn. I think we all subconsciously associate story with knowledge and we crave it, no matter what medium is used: book, movie, play, anime…it doesn’t matter. We need story.
Bergen: Tells us about your next book. Bergen-Bane.
ABC: My next book is not Bergen-Bane, Bergen. My next book is “Broken.” It is about a woman who revisits her past filled with abuse, rape, and neglect as she descends into her psyche. The reader witnesses the worlds she sees in her head as she toggles the lines of insanity. “Broken” is based on a true story—my story and is written and ready for my editor. Broken releases this summer.
Bergen-Bane is my current work in progress. I hope to have this finished for release this winter.
Bergen: That’s it? That’s all you’re saying about my book!?
ABC: *sigh* Fine! Bergen-Bane is about your time in Ireland.
Bergen: That is not what happened and you know it!
ABC: Do I?
Bergen: I’ve had enough of this! I take on a Fae goddess and steal her sword!
ABC: You are captured by the Fae goddess. You don't "take her on."
Bergen: She threatened me and I defeated her.
ABC: You do not!
Bergen: You know I do! You were there! I have to study the secrets of the Fili! The Ancient bards before the Fae goddess kills my instructor and then I’m captured and taken prisoner in Under Earth by a psycho Fae goddess!
ABC: Hm…So you do. If you’re interested in buying Dolor and Shadow, it is now available for preorder at Amazon and Smashwords.
Bergen: I’ve had enough of this!
ABC: Bergen is all over my site at http://www.angelabchrysler.com and you can read more on him there where we get into a lot of arguments like this one. I’m also on a number of social media platforms including Facebook, Twitter, Pinterest, and Google+.
“You are not the main character.” Angela cuts Bergen off and throws a warning glare his way. Bergen scoffs and rolls his eyes.
“I was supposed to be,” Bergen insists and continues. “To get started on Angela’s Goodreads blog, I’m going to be interviewing the author today” Bergen kicks his feet up on Angela’s desk and lights his pipe. Bergen takes a long draw from the pipe while Angela impatiently sighs beside him.
“You see,” Bergen says. “Angela has a really bad habit of ignoring me so this me taking initiative and interviewing her.”
Angela arches a brow in Bergen’s direction.
“The character is interviewing his author?” Angela summarizes and Bergen grins, delighted at his own idea.
“Very well,” Angela sighs. “Whenever you’re ready…Bergen.”
“Excellent! It’s about time you learn to obey,” Bergen adds and pops the top off Angela’s Guinness. “So…first, I want to thank the reader for taking the slightest of interest in the author—Odinn knows she isn’t worth it—”
“Hey!” Angela shouts and Bergen takes a drink from Angela’s beer.
“I also want to thank the author for bothering to take ten minutes out of her day to actually talk to me, her prized character.”
“Thank you,” Angela snarls. “You’re too kind, Bergen.”
“My lord,” Bergen adds.
“What?” Angela asks.
“You shall address me as, my lord.”
*Stunned silence*
“Hey. I am a prince,” Bergen says. “I have a right to be addressed accordingly.”
“Ugh.”
“Very good,” Bergen grins. “Now, let’s correct this format for the interview.
Angela B. ChryslerAngela B. Chrysler: *Rolls her eyes*
Bergen: That’s better. Ms. Chrysler. Please take a moment to tell us about your book, Bergen-Bane.
Angela: Well…*gritting her teeth* Bergen-Bane isn’t done yet, Bergen. But Dolor and Shadow
is about the last Drui, Queen Kallan and Seidr Wielder, who was hidden from the gods who seek to destroy her. When Kallan’s powers begin to emerge, those who hide her can no longer protect her. Her father is killed and King Rune—her enemy—is framed. A chase ensues and Kallan finds herself lost in Midgard with none other than King Rune and an angry goddess on their tail.Bergen: How did you come up with the idea for your book? Hey! Your initials are ABC! Did you do that on purpose?
ABC: No. My middle name is Beth. The idea for Dolor and Shadow developed around Kallan—
Bergen: You mean me.
ABC: No. *angry eyes* I mean Kallan. She was the first idea that came to me. I developed Kallan’s character and then, as I pieced together Kallan’s past, Dolor and Shadow evolved. I built the plot around Kallan’s past.
Bergen: Stories always require some form of research. What kind of research did you do for your book?
ABC: I did more research for Dolor and Shadow than I had ever thought possible. I wanted Midgard to literally be 10th century Norway and I wanted that era and location to be so real to the reader that I researched everything from the 10th century. I researched the cultures, the food, the history leading up to the 10th century. I researched the wars, kings, politics, religions, weapons, metallurgy, and innovations of the era as well as the discoveries made and inventions. I was thrilled when Kallan entered Under Earth and Alfheim when I didn't have to worry about historical accuracy.
Bergen: Which scene or chapter was the hardest for you to write?
ABC: Oooh! Hardest as in most grueling or hardest as in most challenging?
Bergen: Whichever *Bergen takes a drink of Guinness*
ABC: The hardest emotionally for me to write were the battle scenes. I did not want to glorify war. I did not want to sugar coat it either. I wanted to show the reader exactly what war looked like. I wanted to show them all of it. I wrote what I saw in my head. The battle, the chaos, the confusion, but most…I wanted to show all of it. I wanted to show the aftermath.
In Lord of the Rings, Return of the King, there is the scene when Pippin wanders the battlefield for Merry. He walks the field for hours. This reminded me of the song from the musical 1776, “Momma, Look Sharp.” The song tells of how mothers during the Revolutionary War had to go down to the battlefield after a battle and find their sons if they wanted the bodies back or if they wanted knowledge at all of their son’s deaths.
This is the side of war we don’t see. But there was more to it than that. I love the show M*A*S*H. Truth is, there are two battles that are fought in every battle: The fight for the territory…and the fight for the living.
In Lorlenalin’s Lies, I show the battle, the confusion, I show the losses and the gore. I then show the wounded piled up. I show the cauterizing of wounds by the thousands…and then, when that is all over, I show Kallan wandering the battlefield to find more wounded…because she can’t turn the war off.
A veteran complimented me on my war scenes. He said it took him back. He was okay, but he was impressed at how realistic I had recreated the aftermath.
Bergen: Describe your favorite scene or chapter in your book and tell us why it’s your favorite…but only if I’m in it.
ABC: *sigh* My favorite scene in Dolor and Shadow, unfortunately does have you in it, Bergen. It is the scene when Rune tries to stop you from riding off to the mountains to recruit the Dvergar for aid. I love this chapter because it is so emotional. The other scene I love is when Kallan meets with Rune in her dungeons before she orders him executed. I love the standoff between these two because—
Bergen: Enough about Rune and Kallan…Let’s talk about me. Which of your characters, do you relate to the most?
ABC: Kallan. She shares my inability to grieve and cope with the death of a loved one. She has the same Shadow inside of her as I do. She can not accept her own weaknesses any more than I.
Bergen: More about Kallan? Who is your favorite character?
ABC: *Scowls* Why…you are, Bergen.
Bergen: Finally! Why?
ABC: Ugh! I don’t feel like stroking your already ego! Next question!
Bergen: This isn’t over. Every author is a compilation of his/her favorite authors. Which authors have done the most to influence your writing and why?
ABC: Edgar Allan Poe. I adore his writing, his tone, his rhythm. He has music in his words that I envy. My life goal is to write a book in a style similar to Poe’s writing. That is what I tried to do with Dolor and Shadow. I wanted to incorporate music right into the prose.
Bergen: “Story” has always been the center of all human cultures. We need it. We seek it out. We invent it. What does “story” mean to you?
ABC: I believe we have a psychological need for story. We do need story. We seek it out, we invent it, we crave it. I believe story is a way for us to learn and to explore ourselves. The earliest of story were parables and fables that taught us lessons. Before that, we invented myth to explain the world around us. Story taught us. It’s how we learn. I think we all subconsciously associate story with knowledge and we crave it, no matter what medium is used: book, movie, play, anime…it doesn’t matter. We need story.
Bergen: Tells us about your next book. Bergen-Bane.
ABC: My next book is not Bergen-Bane, Bergen. My next book is “Broken.” It is about a woman who revisits her past filled with abuse, rape, and neglect as she descends into her psyche. The reader witnesses the worlds she sees in her head as she toggles the lines of insanity. “Broken” is based on a true story—my story and is written and ready for my editor. Broken releases this summer.
Bergen-Bane is my current work in progress. I hope to have this finished for release this winter.
Bergen: That’s it? That’s all you’re saying about my book!?
ABC: *sigh* Fine! Bergen-Bane is about your time in Ireland.
Bergen: That is not what happened and you know it!
ABC: Do I?
Bergen: I’ve had enough of this! I take on a Fae goddess and steal her sword!
ABC: You are captured by the Fae goddess. You don't "take her on."
Bergen: She threatened me and I defeated her.
ABC: You do not!
Bergen: You know I do! You were there! I have to study the secrets of the Fili! The Ancient bards before the Fae goddess kills my instructor and then I’m captured and taken prisoner in Under Earth by a psycho Fae goddess!
ABC: Hm…So you do. If you’re interested in buying Dolor and Shadow, it is now available for preorder at Amazon and Smashwords.
Bergen: I’ve had enough of this!
ABC: Bergen is all over my site at http://www.angelabchrysler.com and you can read more on him there where we get into a lot of arguments like this one. I’m also on a number of social media platforms including Facebook, Twitter, Pinterest, and Google+.
